Scan 167
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1the instrument it is seen to be in perfect harmony with the primitive outline. With this sound-hole commences the pointed form to which Guarnerius, nearly a century and a half later, gave such perfection. The centre bouts are very quaint, being remarkably short. The material used for the larger instruments is mostly of pear-tree, or wood of that description, the quality of which is particularly fine. In the selection of this wood he showed a still minuter discrimination, using it generally for Double Basses and Viols da Gamba, and not for Violins or Violas; few specimens of the latter have backs of pear wood. His work was bold, but not highly finished; no other result could be looked for at so early a date. The grain of the bellies is usually very even and well defined. His Tenors and Double Basses are remarkable instruments, the latter appearing in two sizes, the smaller of which is admirably suited for chamber use. Signor Dragonetti, the late eminent Double Bass player, possessed three or four Double Basses by this maker of various sizes. The most celebrated of these instruments was presented to him by the monks of the monastery of St. Mark, Venice, about the year 1776, and was returned to the donors after Dragonetti's death in 1846. Another was bequeathed by Dragonetti to the late Duke of Leinster. A third is in the possession of the Rev. Geo. Leigh Blake. Dr. Steward, of Wolverhampton, has two fine specimens of Gaspard's Tenors. Among his chamber Double
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